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The author presents a critique of three music recordings that the English singer David Bowie created while he lived in Berlin, Germany from 1976 to 1978. He mentions the influences of German civilization on Bowie's music even before he moved to Germany, the continuing American influences, and the aesthetic aspects of his music.

The article examines the musical instrument as a living-dead thing and the uncanniness of music in early 19th century Germany culture. It discusses the aesthetic theory and literary thematizations of living-dead instrument. Topics include physical connection between individual and instruments, folk tales of the 19th century, and writings of author E. T. A. Hoffmann.

Wagner is an important German composer and aesthetic theoretician. Both German mythology tradition, absolute idealism and the impressions of Schopenhauer's pessimist philosophy can be seen in his philosophical system. Wagner's musical drama emerge, with an ideal to revive the artistic synthesis in the golden era of Greek tragedy and puts forward a new combined form of arts, which is based on the belief that all forms of art can be performed together. Wagner explains this theorem as Gesamtkunstwerk. He emphasizes that synthesizing music with poetry will recreate high tragic art and all forms of art will regain their freedom thanks to this synthesis. Wagner does not deal with music merely as music. From his point of view, music is determined by a philosophical paradigm. This paradigm develops sometimes through Schopenhauer, sometimes through Buddhism and sometimes at an absolute idealist point. What has directed his works as "the music of the future" up to date is that he added mythical and metaphoric meanings to all of his operas, which has brought the name of Wagner to the point of being known as a philosopher as well as a composer. In this research, we examined in which system and structural arrangement metaphysical and philosophical themes that were existent in Wagner music developed, how Wagner music turned into an aesthetic theorem as a result of this transformation and the philosophical basis of Wagner's featuring musical idea. At this point, Wagner's operas can't be considered as merely an opera. His music develops through idealistic metaphysical contents and connotations and it enables the period of volition's Buddhist negation, Schopenhauer, Aristotle, Kant and Hegel to be seen clearly in a work of music and his art. [ABSTRACT FROM AUTHOR]

The article explores the meanings of hairpins, a type of musical notation symbol, in 19th- and early 20th-century classical music. The author argues that while in modern times the symbols are usually understood as representing crescendo and diminuendo, in 19th-century German music hairpins had more to do with the meaning of a certain phrase than its relative volume. The musical techniques musicians used to ascribe more meaning to the music, such as agogic inflection, are analyzed. Particular focus is given to the music of German composer Johannes Brahms.

The bulk of research on Fanny Mendelssohn Hensel to date has focused primarily on either the historical or editorial; analysis of her music, however, is rare. Turning the lens on Hensel's songs for solo voice is a step toward rectifying this situation. What defines the Henselian Lied? What makes her songs distinctive and unmistakably her own? What, in short, was her Lied aesthetic? An examination of two of her songs from the late 1820s, 'Verlust' (1827) and 'Die fruhen Graber' (1828), uncovers three hallmarks of her approach to the Lied: an avoidance of tonic harmony, an emphasis on text painting, and the use of the piano accompaniment as commentary. The most striking of these hallmarks-the absence of the tonic-can be traced through several songs from the middle of her output, including her setting of Goethe's 'Uber allen Gipfeln ist Ruh' (1835). All three features are most evident in one of her last songs, 'Im Herbste' (1846). These songs reveal a composer with a great sensitivity to textual nuance, a penchant for harmonic experimentation, and a strong interpretive streak. Moreover, they suggest that far from being merely an exemplar of the 'Mendelssohnian style,' Hensel was an independent artist in her own right, with a creative voice that was adventuresome, deeply expressive, and, in its own way, as pathbreaking as any in the Romantic era. [ABSTRACT FROM AUTHOR]

The article discusses the music of German composer Ludwig van Beethoven and the connection between his manipulation of musical logic and sonata form's formal procedures. It notes that Beethoven's music inspires listeners to integrate ideas, story lines, and specific emotions of the moments and aspects of music. It points out that his music conveys meaning to listeners central to concert repertory which marks the point when music attained larger cultural and historical significance. It also appeals to the emotional and visual imagination of listeners in association with the authorial intentionality.

The article explores the musical symbolism of German classical composer Johann Sebastian Bach's "Mass in B Minor." It compares the three duets of the Mass, such as "Christe eleison," "Domine Deus" and "Et in unum Dominum," in terms of canon, imitation and parallelism. It also suggests that Bach's symbolism is speculative in representing the Christian Trinity and the relationship between God and human being.

The songs of C. P. E. Bach, while not a primary part of his artistic output, represent a substantial portion of his œuvre and reflect a commitment on the composer’s part to expressing profound spiritual and moral concepts. The songs also make a significant contribution to the flowering of the German lied tradition, which is generally considered to begin in the early 19th century with Schubert but which has deep antecedents in the 18th century. The confluence of a rapidly evolving musical language, the philosophical tradition of the Enlightenment, and a native tradition of strophic poetry and song gave rise to the highly compressed, harmonically potent style of Bach’s lieder.Individual songs by C. P. E. Bach are examined for their inventiveness, emotional potency and sensitivity to the text. Selections from each of his three major song collections, as well as secular songs and a large-scale cantata for voice and keyboard, are described in detail. Issues surrounding performance, which may affect the current obscurity of these pieces, are considered: how to programme, edit and perform the songs; what keyboard instrument is best suited; and what skills a singer needs to bring to bear for a modern recital audience. [ABSTRACT FROM PUBLISHER]